DELIVERANCE: Camelot in Smithereens Redux

Truth Be Told

I probably won’t be the first Deliverance fan to confess that when Camelot in Smithereens was originally released on Intense Records in 1995 that I was a bit confused and less than enthusiastic. With the 3 releases prior to Camelot, Jimmy P. Brown, II and company had covered a wide array of styles, catapulting Deliverance out of the narrow niche of thrash metal into a wider, more progressive musical world.

Stay of Execution (1992) was a powerful and effective transition album – one revered by fans as heavy-hitting, yet freshly progressive. Learn (1993), on the other hand, slowed things down a bit, the focus on lurching, heavy grooves and pounding rhythms, haunting melodies and some of the most poignant, beautifully crafted Deliverance lyrics (to date) from Jimmy. Then, seemingly out of nowhere, came River Disturbance with its more alternative and polished approach.

Why the synopsis of those releases? Because it appeared that with the release of Camelot in 1995, Jimmy was trying to take the next step in the progression of Deliverance – combine all the elements that had made the last 3 records great into a massive concept metal piece with detailed storyline to boot.

Only problem? … the label wasn’t biting on the idea. Add a rushed production and the fact that most fans didn’t really understand what Camelot was supposed to be about and the end result, not surprisingly, was a somewhat disjointed collection of songs without a printed storyline to follow.

Regardless, Camelot in Smithereens 1995 was a grower of an album – one that after many listens had enough brilliance in its parts to be appreciated in time by the Deliverance faithful and the wider progressive metal audience in general. (More thoughts on the 1995 release to follow – see below)

Crux of the Redux

Not surprisingly, (as he explains in detail in the DVD documentary included with the Deluxe Book edition) Jimmy was never satisfied with the original release on multiple levels. Hence, fast-forward some mere 26 years (recalling the lyrics to “Time”) and we stand witness to the revitalization (redux) of Camelot in Smithereens.

Only this “Camelot 2021” version represents, in essence, a true birth and not just a reworking or “remastering” of its predecessor. Redux is a realization of what Jimmy originally envisioned for Camelot, complete with a full story, song interlude tracks and a radically different and improved sound.

Other than his faithful, long-time compadre on bass, Manny Morales, the contributing musicians this time around represent a mixture of old and new faces. Nuncio Tucci (guitars) and Phil Borerro (drums) have replaced Marcus Colon and Jeff Mason from the 1995 sessions. Additionally, George Ochoa, Mike Phillips, Glenn Rogers and Larry Farkas each contribute guitar solos. Add the 5 voice actors and Redux has blossomed into a totally different musical production with epic magnitude – one which certainly eclipses the original in terms of sound quality, cohesion and clarity.

Redux Multi-Variants

While we are all tired of Covid-19 variants at this point, who doesn’t love multiple versions of their favorite music? As might be anticipated, Redux was a complex project to release – one which almost didn’t happen due to crowd underfunding – but fans can be reassured that with the help of Retroactive Records, Deliverance has “delivered the goods” in terms of physical product.

There is the CD jewel kit version (RRCD1625) with 12-page booklet (includes silver foil trading card #63), the Deluxe Book 2CD/DVD version (RRB1625) with 32-page booklet, the Limited Run Vinyl version (RRV1625) with all 16 tracks included on single LP, and the Red Cassette version (RRT1625).

I would also mention, that in conjunction with the release of Redux, Retroactive has released the LRV remastered version (RRV1627) of the original 1995 recording for the first time ever on vinyl. Additionally worth noting is that the remastered CD version of the 1995 recording is only available, currently, in the Limited Book version.

Needless to say, I have endeavored to examine all these “variants” within the scope of this review.

Deluxe Book

For those who want it all – Redux, the full story, the documentary and the bonus 1995 remaster on CD – the beautiful 8-panel digi-wallet Deluxe Book is essential. Not only is the artwork and layout stunning, but the content alone is also well-worth the extra money.  [Please note that the Limited Book version does NOT contain a trading card]

Camelot in Smithereens Redux (CD 1) (51:21)

1. the glass asylum (1:02)

2. SOMBRE THEME (5:13)

3. enter… (0:43)

4. LYNDSAY (5:02)

5. temptation (0:13)

6. NOT2GOOD4ME (5:29)

7. ANYMORE (4:30)

8. the foreward (1:16)

9. THE BOOK ENDS (7:14)

10. BEAUTY & THE BEAST (3:45)

11. the fear (0:27)

12. MAKE MY BED IN HELL (4:28)

13. onto the… (0:27)

14. THE RED ROOF (4:34)

15. rest now… (1:18)

16. In-U (5:40)

Redux is comprised of 16 tracks – 9 songs and 7 interlude tracks. Not surprisingly, Redux is roughly 6-minutes longer than the ’95 version. These interlude tracks basically serve as “intros” to the 7 songs they preface. As can be seen from the track listing (above) “NOT2GOOD4ME”/”ANYMORE” and “THE BOOK ENDS”/”BEAUTY & THE BEAST” directly segue into each other so this is why we don’t have 9 interlude tracks. But these interludes (some of their elements present on the original release) have been modified and expanded and now represent separate tracks with their own titles.

In addition to the modifications noted above in the music, there are differences in the presentation of song titles as well, both in terms of spelling and format. For example, Lyndsay is spelled with a “y” and “a” on Redux, and “NOT2GOOD4ME” appears as such compared to “Not Too Good 4 Me” from the ’95 version, and “SOMBRE THEME” now instead of “Somber Theme (Where are You).” This was purposeful – these are not typos. Furthermore, the interludes appear in lower case and the lyric songs in all-CAPS.

Chapter 1 – “With one word…”

The saga commences with “the glass asylum” – a brief one-minute intro with spoken word radio chatter and film reel sound effects. This flows into the heavily modified opening segment of “SOMBRE THEME.” The whole sequence is smooth and stands in stark contrast to the abrupt opening to the ’95 album. And what is immediately apparent here is the warm tonal quality to the guitars, drums and the greater bass guitar volume. The double bass drum sixteenths are punchy, yet well-defined coming out of the speakers. This song sets the sound stage/mix quality for the rest of Redux. In excellent form, George Ochoa contributes the lead guitar solo on this track.

Chapter 2 – Enter … Lyndsay

The 30-second intro to the main song was not part of the original release and features voice characters over top of electronic programming as we are introduced to the heroine of the story. When I first heard this version of “LYNDSAY” I was convinced the tempo was slower, but further listening revealed that it is the rhythm guitar which has been down tuned or the riff starts on a lower note. The result is that this song now sounds like it was inspired by the Learn-era material – its stinking heavy. With Jimmy’s low-tone spoken word in the middle, Queensryche’s “Empire” comes to mind.

Additionally, Larry Farkas shreds the lead – that first solo brilliant – and the drum tom accents throughout sound punchy/precise. Everything is just so much more balanced and clearer in the mix on Redux, and nowhere is that more apparent than on this amazing song.

Chapter 3 – Lies!

The brief dialogue track “temptation” is followed by more brilliance and low-end riffage on “NOT2GOOD4ME” which features a solo by previous Deliverance axe-man Mike Phillips at the 3:00 mark, which replaces the original solo in this spot and improves the overall appeal of the song. The song has been extended by 20-seconds from the original – longer killer riff outro section with additional guitar noodling – but otherwise remains very similar in composition to the original.

Chapter 4 – “Too much time on my hands…”

The original ‘95 segue between these songs remains cool but has been enhanced on Redux. “ANYMORE” now begins with an eerie “water-drip” sound combined with heartbeat for 20 seconds before the guitar lead melody starts up. Other elements have been added, programming underneath the melodies, and vocal changes as well to give this song a much more contemporary, electronic, haunting yet distinctly progressive vibe. Overall, the changes add 15 seconds to the new version. Whereas the original had a definite Operation: Mindcrime tone, this version feels more distinctly Jimmy P. Brown, II/Deliverance. It’s hard to make a great song better … Bravo!

Chapter 5 – “… and the darkness cannot overcome the light”

“the foreward” is a beautiful piano/synth, cinematic instrumental piece with spoken words over the top. That bottom piano note at the end of the track perfectly sets up the opening melody to “THE BOOK ENDS” which was another song I always felt started so abruptly/awkwardly on the original. This version is so much more satisfying because the sound mix on Redux is great – a greater keyboard presence noteworthy – but structurally the song remains intact. I love Jimmy’s vocals on this song because they remind me so much of the operatic power and passion of Eric Clayton here. Again, since there is no interlude track between this and the next song, 10 seconds of silence at the end here serves as the interlude to Bowie’s classic…

Chapter 6 – “This record got me through some tough times”

 “BEAUTY & THE BEAST” has never been my favorite song and always felt out of place in the midst of this progressive rock/metal concept album, but thanks to the completed story, it all makes sense now. The updated sound mix and recording definitely outshines the ’95 version and this version about 15 seconds longer as well.

Chapter 7 – “The more we learn to hope in Him, the stronger He is within us”

“the fear” is a brief sound-byte (retro printer whine/phone ring tone defining the era) interlude with menacing voice warnings which segues perfectly into the heaviest (lyrically and musically) track on the album. “MAKE MY BED IN HELL” is in every way a perfect song – now made even better – because of the way it juxtaposes heavy guitar riffs with melody, distortion with clarity, darkness with light, despair with hope and most importantly death with life. All in one song! Both Glenn Rogers and Larry Farkas contribute guitar solos to boot!

Of note, the somewhat redundant outro on the 1995 version was eliminated here and so the song is about 20 seconds shorter.

Chapter 8 – “From my body flows the energy to make you live, little one”

The 27 second “onto the…” ambulance ride provides the preface to “THE RED ROOF” which in the narrative represents the denouement. The original version of this song is 45 seconds longer than the Redux version because the interlude was embedded at the end of the track. The original song fades out around the 4-minute mark and approximately 1:20 of somewhat nebulous programming effects served as the interlude into the final track.

Chapter 9 – Asha (Hope) In-U

That 1:20 of effects at the end of “The Red Roof” (1995) was cut completely for Redux and replaced with the 1:20 interlude known as “rest now…” which is totally different and includes more of the narrative, including the miraculous birth of…

“IN-U” is a hard song to improve upon from the original. Obviously, the recording quality is better – lush – and the deep tones in Jimmy’s voice – so haunting and yet peaceful – really jump out of the speakers. While the ’95 version was brilliant, it was cut short at the end making for a less than satisfying closure to the album. On Redux, a full 1:10 was added to the end of the song, featuring a longer fade out section and then brief spoken part to bring things back full circle to the opening segment of the epic album.

“… what is Your Word?”

Camelot in Smithereens (Original Remastered) (CD 2) (45:15)

1. Somber Theme (Where are You) (5:55)

2. Lindsey (4:51)

3. Not Too Good 4 Me (5:09)

4. Anymore (4:15)

5. Book Ends (6:58)

6. Beauty & the Beast (3:26)

7. Make My Bed in Hell (4:51)

8. The Red Roof (5:20)

9. In-U (4:30)

This disc represents the original release remastered by Rob Colwell. One of the biggest problems with the 1995 CD release was the flat frequency spectrum which contributed to significant listener fatigue at higher volumes. While this version doesn’t shine like its vinyl remaster counterpart, there is more beef to the output. But only so much can be modified on a remaster so don’t expect miracles here sonically. This version is a little bit “fatter” sounding and less “tin-y” (less shrill treble), but again, not as warm as its vinyl counterpart.

[Additional commentary on individual tracks of the 1995 version are embedded, of course, within the review of the Redux CD above.]

Camelot in Smithereens Redux DVD (107:48)

Clocking in a little over 10 minutes under 2 hours, this documentary is substantial both in terms of depth and content. The piece is characterized primarily by current-day Jimmy’s commentary on the Redux/Camelot 2021 recording and production process alternating with video from the 1995 recording sessions. This is augmented by present-day Q&A from Manny Morales covering the whole spectrum of questions from the ’95 release to the Redux/Camelot 2021 recording process.

Initially, things are a bit hard to follow because of the shifts back and forth – past to present – but after the first 20 minutes or so it all falls in place and becomes an intensely enjoyable watch. Jimmy’s transparency is ever so inspiring as he talks about the difficulty involved with not only the ’95 release recording process (the restrictions from the label), but also the challenges of trying to complete Redux both from a logistical standpoint (Covid-19 restrictions) and from a financial standpoint (disappointing crowdfunding response).

While I don’t want to spoil too much in terms of describing the content of the documentary, there is a moment at the end (’95 sessions) where there is a discussion/argument about who cusses more – Manny or Jimmy … priceless!!

The Story Book

The 32-page booklet which accompanies the Deluxe Book edition occupies the 4^th slot in the digi-wallet. The highlight here is the inclusion of the full story – in 9 chapters – behind Camelot in Smithereens. Each chapter in the story corresponds to one of the 9 “song” tracks. The story was co-written by Bill Mester who worked closely with Jimmy to fully illustrate (with words) the original concept behind the release.

For me, reading and understanding this novella is integral to fully appreciating the impact of the music and the lyrics. One of the most unsatisfying aspects of the 1995 release was that I never really “got” the lyrics. Who was Lyndsay? What did she do and what happened to her? What or who’s “Not2good4 me?” How did Bowie’s “Beauty & the Beast” have anything to do with this story? The questions rolled on and on…

Without giving away too much of the compelling story, I never even knew an unborn child was even part of the story! So, this story is rich, and it touches on a lot of challenging and difficult issues which occur within the church and within the life of believers in general. Again, I don’t want to give away anything to that “virgin” reading experience, but this story is rich – heartbreaking and inspirational all in the same.

Deliverance – Camelot in Smithereens Redux

1.the glass asylum (1:02)

2. SOMBRE THEME (5:13)

3. enter… (0:43)

4. LYNDSAY (5:02)

5. temptation (0:13)

6. NOT2GOOD4ME (5:29)

7. ANYMORE (4:30)

8. the foreward (1:16)

9. THE BOOK ENDS (7:14)

10. BEAUTY & THE BEAST (3:45)

11. the fear (0:27)

12. MAKE MY BED IN HELL (4:28)

13. onto the… (0:27)

14. THE RED ROOF (4:34)

15. rest now (1:18)

16. In-U (5:40)

CD version (RRCD1625) with 12-page booklet and Silver Foil Trading Card #63. The story is not included in this booklet. Traditionally (sans the trading card that is), this would be the “retail” version of the release. Some folks just like to have the music on CD and don’t care about all the hype … and some like a version they can “wear out” while driving. Love the commitment from band and label to bring all these versions to the table.

Deliverance – Camelot in Smithereens Redux (Limited Run Vinyl)

Side A

1. the glass asylum (1:02)

2. SOMBRE THEME (5:13)

3. enter… (0:43)

4. LYNDSAY (5:02)

5. temptation (0:13)

6. NOT2GOOD4ME (5:29)

7. ANYMORE (4:30)

8. the foreward (1:16)

Side B

9. THE BOOK ENDS (7:14)

10. BEAUTY & THE BEAST (3:45)

11. the fear (0:27)

12. MAKE MY BED IN HELL (4:28)

13. onto the… (0:27)

14. THE RED ROOF (4:34)

15. rest now (1:18)

16. In-U (5:40)

As would be anticipated, the vinyl version of Redux doesn’t disappoint. So much low-end monster – the bass and kick drum so impressive through analog filters. Actually, this was the first version of the release I was privy to hear. Where the new recording delivers a much broader frequency spectrum to the auditory canal in general, the vinyl warmth does so to an even greater extent.

My only complaint would be that the prelude (“the foreward”) to “The Book Ends” lands at the end of Side A and not at the beginning of Side B where it would flow more naturally. I love concept metal, but the disruption of “changing sides” has always been one area where vinyl falls short of the “continuous play” mode of CD and digital media.

This release comes with black vinyl in single LP jacket and single two-side insert. The record sleeve is audiophile black paper with inner poly liner.

Deliverance – Camelot in Smithereens Redux (cassette)

Side A

1. the glass asylum (1:02)

2. SOMBRE THEME (5:13)

3. enter… (0:43)

4. LYNDSAY (5:02)

5. temptation (0:13)

6. NOT2GOOD4ME (5:29)

7. ANYMORE (4:30)

8. the foreward (1:16)

Side B

9. THE BOOK ENDS (7:14)

10. BEAUTY & THE BEAST (3:45)

11. the fear (0:27)

12. MAKE MY BED IN HELL (4:28)

13. onto the… (0:27)

14. THE RED ROOF (4:34)

15. rest now (1:18)

16. In-U (5:40)

Red shell cassette with J-card with full lyrics on inside. The track split between Side A and B is the same as the vinyl version which as previously stated is unfortunate because it really breaks the flow of the music. Regarding sound, there is a nice analog-ish quality here. Cassettes have made a modest return to fame with new materials, and on a good quality deck they can sound very good to great. (Although finding a good deck these days is difficult and the choices very limited).

Fortunately, the sound on this Deliverance tape is very good to excellent with no tape hiss between tracks. The gain is set nicely too, just slightly below the -10dB level, so there is no distortion due to overflow and the songs sound good at moderate to high volume. Obviously not as sweet as the vinyl in terms of sound, but nostalgia  sometimes drives us to find one more way to experience the best music does it not?

Deliverance – Camelot in Smithereens (Limited Run Vinyl) (Original Remastered)

Side A

1. Somber Theme (Where are You) (5:55)

2. Lindsey (4:51)

3. Not Too Good 4 Me (5:09)

4. Anymore (4:15)

5. Book Ends (6:58)

Side B

6. Beauty & the Beast (3:26)

7. Make My Bed in Hell (4:51)

8. The Red Roof (5:20)

9. In-U (4:30)

This is a beautiful record. Matt Hunt and Jimmy P. Brown, II have striven to release the entire Deliverance back catalog on vinyl. I suspect this one was held-out until Redux could see the light of day so they could be simultaneously revealed. Suffice it to say, the 1995 version (remastered) is a worthy companion to Camelot 2021. Honestly, listening to the 1995 version in this vinyl format is intense, so much more in the music as the full spectrum of frequencies jump out of the speakers.

The record itself is crystal clear black with little to no surface noise once cleaned. Roomy jacket includes audiophile black paper/poly-lined inner sleeve (which has now become the standard on these LRV releases) along with the two-sided insert with lyrics and credits. While the paper printed inner sleeves (featured on previous LRV releases) look cool, I am so glad to see the poly-lined inner become the standard because there is less static and it is much easier to remove the vinyl from the sleeve. Besides, a lot of those printed inner sleeves end up with seam splits anyway.

Closure

Camelot 2021/Redux represents decades of perseverance from one of the most beloved artists in our scene and in heavy music history, in general.  If you have read this far, you are not only a patient and committed reader, but have hopefully found one or several of these fine forms of physical media appealing to you. If you have not already purchased one of them, it’s my hope that the humble commentary I’ve provided (no words can do justice to a work of this magnitude) might move you to support the artists and label who have worked so diligently to bring this project to life and light.

Retroactive Records

Disclosure

[A total of approximately 16 hours over 6 weeks was spent in listening to, reading and writing about Redux, the variants, the remasters, etc. in the creation of this review. The author figured that if it took Jimmy and the guys this many years of blood, sweat and tears to make Camelot 2021 a reality, it was both his responsibility (as a musician, writer/reviewer) and his heart’s desire (as a lover and true fan of music) to invest a proportionate duration (well, at least in terms of average time to listen to and review a release these days) in thoroughly vetting this brilliant work of art. Hope you enjoy. Selah…]

About Author